A stranger washes up on Uig on the Isle of Skye. It’s purportedly 1970 and the lighthouse is closing down. The tight knit community is fragile. Everything is falling apart. The audience enters to the cast symbolically waving torches wrapped in blue plastic carrier bigs. This simple introduction sets a tone. Actors bustle in shock, the discovery of the stranger ensues, and the audience is engaged through a frantic commotion.
The plot is relatively simple, or not when you begin its deconstruction. Donald, our mysterious man from the sea excites the village. He serves as the catalyst who creates ripples of animosity with every other person he crosses paths with. Like so many other EdFringe productions, this show has no printed programme or online production information. Pedantic, maybe but when the introduction unfolds erratically and six characters take time to develop and reveal motivation, a quick glance at a synopsis and character list appeases confusion.
Fringe theatre relies on productions like this to exist. They contain many moving parts that go unnoticed when they work but glare when they fail. A photographer’s softbox shines constantly at the audience. Representing the lighthouse, it’s centered and blinding but in consideration of production design, in the wrong seat this is an unfortunate distraction for what follows has strong pace and key sections of note.
Sound plays an important part in this production. The sound effects and musical interludes serve the story perfectly through their lyrics and relevance to the mood, but their efficacy does disguise set changes that could easily have been eliminated. Two shipping crates of prop flotsam allude to a period but the jetsam within is modern day junk. Suspension of disbelief is paramount in drama and attention is required for period. With the era link removed, the design wouldn’t be subject to such scrutiny, but the script revolves around a community defined by isolation and the writing doesn’t always serve this concept.
As a story, The Last Keepers doesn’t quite know what it wants to be, however, the concept is strong and the setting unique. Some elements suggest it to be a ghostly love story but the overbearing consideration is modern relationship drama with traditional plot point, beats and denouement. Greater definition of the geography and history of the location would bolster this play immensely because at core this has strong potential for development.
This is a production that wants for a set design that a ten-minute changeover in the Fringe can’t really afford it. Visual and story limitations aside, what does make this show beam is the acting. The ensemble are clearly at home in all of their respective roles and the dynamic interactions keep the show watchable throughout. The general stagecraft is excellent and there is notable use of a torch in place of a knife – clever and memorable blocking. The characters of Donald and the Rachel Weisz-esque Isla are of particular note with both performers offering particularly strong stage presence. Overall, if you’re looking for solidly performed new writing, this show has all the right ingredients on offer.
Reviewer: Al Carretta
Reviewed: 18th August 2025
North West End UK Rating:
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